Gilbert Gottfried's Amazing Colossal Podcast - GGACP Rewind: Episode #63: Leonard Maltin

Episode Date: October 22, 2026

Movie fanatics Gilbert and Frank place a call to one of the world’s most recognized authorities on cinema — author, critic and historian Leonard Maltin, who shares his thoughts on everything from the perils of fraternizing with filmmakers to the long-rumored “Curse of the Little Rascals.” Also, Leonard remembers Hal Roach and Forrest Ackerman, gushes over Groucho and Jerry Lewis and tells us why “Casablanca” is the “perfect movie.” PLUS: “Island of Lost Souls”! Wayne and Shuster! “Famous Monsters of Filmland”! Leonard shares the dais with Uncle Miltie! And “The Man Who Would Be Buckwheat”! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Unlock unlimited free grocery delivery with PC Express Pass. Shop online and get the same low No Frills prices delivered. Get your first year of PC Express Pass for just $2.50 a month. Learn more at no frills.ca. The new Subaru Cross Trek Hybrid is the most fuel efficient cross trek yet. That means less time filling your tank and more time filling your day. More court time, more ride time, more lake time, more camp time, more. Go time.

The new 2027 Subaru Cross Trek Hybrid. Consumer Reports top-rated subcompact SUV. Stop by your local Subaru dealership or visit Subaru.ca to learn more. Consumer Reports is not indoors products or services. Hi, this is Gilbert Gottfried and this is Gilbert Gottfried's amazing colossal podcast. I'm here with my co-host Frank Santopadre. Our guest this week is a historian, journalist, author, TV host,

and one of the most respected film critics of our time. His books include The Disney Films of Mice and Magic, the great movie comedians, the best 151 movies you've never seen, and of course Leonard Moulton's movie guide, a best-selling and invaluable resource, since it was published in 1969. His articles and reviews have appeared in the New York Times,

The Village Voice, Playboy, American Film, TV Guide and variety since 1982. He's been the movie reviewer for the long-running show entertainment tonight. Please welcome a man who pays. And both Problem Child and Problem Child, too, Leonard Moulton. Now... Well, thank you. Welcome, Leonard. That is a unique introduction.

I've been introduced many times. But that's the first time that the movie Problem Child was ever entered into the introduction. Yes. And rightly so, by the way, for bad reviews. So that leads me to my first question. Also, I have to correct you because I did have an incredible 30-year run on entertainment tonight, but I'm no longer on entertainment today. Oh, okay. All right, we'll edit that out.

But however, it was while I was working at entertainment tonight that I met a very nice young woman named Debbie Alexander, whose husband, Scott, co-wrote Problem Child. Yes. He's been on the show. And Scott and his partner, Larry, and I have been friends for many years. They're great guys. In spite of my review of Problem Child. Yes. And so because of your problem, child review, that leads us to my first question.

Would you please go fuck yourself? Well, you know, herein lies the problem. Yes. And it is a problem. I grew up in the New York area. I grew up, I was born in Manhattan. I grew up in T-neck, New Jersey, spent most of my adolescents. you know, in and around New York and haunting all the revival theaters at the time in the Museum of Modern Art,

going to the memorabilia shops, being part of the underground film societies of the day, all of that. And then I, out of the blue, and it really was out of the blue, I got this job as a movie critic on a brand-new TV show called Entertainment Tonight. And at first I commuted from New York to L.A. I did that for a year and a half. and then ultimately I moved out here with my wife, and E.T. moved physically to the Paramount Studio lot. So now not only was I a movie critic living in Hollywood in the midst of the movie industry,

I was even at a movie studio, and this caused, you know, some occasional problems and conflicts. not as many as I anticipated, but one of the things I learned early on was that I really couldn't be friendly with people who made movies. I had to keep an arm's length because nobody likes to be criticized, and that includes me. Interesting. And so, you know, you can't be palsy with somebody that, you know, you're going to say, you know, something negative about. It just doesn't work.

Now, you were, you said in an interview, when, you're going to say, you're going to say, you're you see someone in a horrible movie and then you meet them, the actor or director, that there are these things, you have to say something, and that there are these things you say when you're meeting someone whose movie you hated. Well, I've collected these phrases, Gilbert, over the years. The problem is I never have the nerve to actually use them. But the things that you can say are things like, nobody enjoyed it any more than I did. That's good.

Or I can't tell you how much I liked it. So because you had to, Pam, the problem child. There's one that you do with a little punch on the arm. You say, you've done it again. Oh, that's funny. But the truth is, when I run smack into somebody, like after a screening, and I'm staring them in the face, and I know them and they know me, I get, I fomper and I get tongue-tied.

And the best that I can come up with is congratulations on your film. That's funny. Now, the truth is making a film is a big deal, right? It's, you know, it is a big deal to get a movie made. So you've made a movie. Congratulations. Now, how they want to interpret it is up to them. Well, it's like they always say it takes as much work to make a bad movie as a good movie.

as a good movie. Now, here's something, nothing drives me crazier than when I see a movie that I hate, and then I read all the reviews, and every single reviewer loves it. Have you been in that position a bunch of times where you hated a movie? I've been on both sides of that fence. I've been the only one or seemingly the only one who disliked a movie everybody likes, and conversely I've been the champion of a film that nobody seems to like. That's happened many times too.

Now, do you remember offhand the films you hated that got great reviews? Well, hated is too strong a word in this case. But, I mean, for instance, I was not just as a for instance. I didn't like Foxcatcher last year. Foxcatcher left me cold. I could respect it and admire it. Steve Carell certainly did a good job. everybody in it is good Mark Ruffalo.

I mean, they're all, Channing Tatum, they're all good in it. It's not the actor's fault. But the film just didn't play for me. It didn't work for me. And yet it was, of course, you know, very, very highly praised and an awards contender. And so sometimes, listen, it's just an opinion. As I say over and over again to nobody's, nobody's open ears apparently because no one ever seems to pay attention.

It's just an opinion. And, you know, also I wonder about, now, what has happened now? Like, I remember years ago, before the Internet, we had our movie reviewers. Wait a minute, there was a time before the Internet? Yeah, believe it or not. Yeah. We had our movie reviewers, our columnists, our writers, and those were the ones you went to. Right.

And now every single person in the world is a movie reviewer and a columnist. Yeah, and a musician, and a filmmaker, and an artist, and a comedian and a voiceover person. It's the age of the amateur. Now, you know, there are a lot of very talented people out there. and some of them, and the line is completely blurred now between amateur and professional. I'd even know how you determine one from the other in many ways. But you're right. I mean, there used to be people that you relied on in a certain way.

And now, you know, all bets are off. It's why a lot of my colleagues are losing their jobs. Who did you rely upon, Leonard, yourself in those days? Pauline Kale, Andrew Saris. those type of people? Well, I read them. I tried never to rely on anybody in the sense. See, I'm not a typical reader.

You know, I'm also going to be writing a review and giving my opinion. So I would never read anybody ahead of time. And I didn't turn to critics for the reason that many people do to get an opinion. If I'm reading a review, it's after I've seen the movie. And what I'm looking for is a thoughtful, interesting, provocation. good piece of writing. If it's a film that I didn't quite get, maybe the reviewer helps explain it to me,

or perhaps they illuminate something that I didn't fully understand, or they help me appreciate it more. There are all sorts of things I can derive from a really good review, but I'm not looking for just a thumb up or a thumb down. Sure. And speaking of that situation you just spoke about where you didn't have the right words or you were looking for something to say, Wasn't there a Kevin Costner story?

Well, that was one of the most awkward moments of my professional life. When I was working for E.C., I got a call one day. Hey, tomorrow afternoon you're going to go see the new Kevin Costner movie. They're having a special sneak screening at Warner Brothers in Burbank, and you'll see the film at 1 o'clock, and then you'll immediately go to Kevin's office on the lot and interview him. Okay, fine. The film is called The Postman. I knew nothing about it, which is the way I like to see movies.

I don't like to know anything. Yeah, you don't like trailers and all that stuff. No, I don't. I try to avoid them. So, okay, fine. So I show up at Warner Brothers in their biggest theater, a 500-seat theater on the studio lot, and there's maybe a dozen people scattered around this theater. And I find an isolated spot by myself.

and Kevin is introducing the movie. And he waves hello to me and welcomes everybody in and says, I put my heart and soul into this movie. I really hope you like it. Here it is. Okay. So the movie begins. And it's a big epic scale film, you know, set in the West and all this.

And it goes on and on, and on, and on. And on. I actually got to a point, I mean, this is very, very rare. for me, but I think by the third hour, I was actually muttering, audibly muttering to myself. I was saying, oh, geez. Oh, please. Oh, gosh. Jeez.

It was, it was pretty, it was pretty excruciating. So now picture this. All right, the film's over now. And I stay and watch the credits. The film isn't over for me until I've been threatened with civil and criminal prosecution. That's when the film is over, not a moment earlier. I go to the men's room. It had been three hours after all.

I go to the men's room, and then I walk maybe 100 yards to an office that Kevin Costner has on the Warner Brothers lot, where the ET crew is already set up. They've got two cameras. The lighting is all set, and there's Kevin. Hi, nice to see you. How you doing? I sit down. Now, of course, all I'm very... praying, praying is that he's not going to say, how did you like the movie?

Because I've been in this situation before, and many, many, many actors and even filmmakers are smart enough not to ask that question. At that moment, I'm not wearing my critic hat. I'm wearing my interviewer hat, right? So I'm there to do an interview with him. How the movie come about? What was the inspiration? You know, what was it like having to direct yourself?

all those things. And in the middle of, and so we're going along and we're having an okay conversation. And I've interviewed him before and all that. So we're getting along fine. And in the middle of it,

he says, and you know, he says, I like big movies. I like big epic movies. He says, in my home theater, I got posters on the wall

for films like Ben Hur. And how the West was one, big movies. He says, and you know and that's the kind of thing I was trying to emulate here and he says and I mean I hope it I hope it worked for you and I say in one of my rare moments of inspiration I say well it looked great on that big screen and he and he bit he said exactly exactly that's an idea nice save now to be to be fair I ran into him about six months later and by this time of course

the film had been panned and, you know, pilloried by everybody. So it's not like I was a maverick opinion. Sure. It's a post-apocalyptic drama, right? I mean, I've never seen it. Yeah. Whatever. It's, I've tried to forget it.

But he saw me, and he was not unfriendly, and he said, you know, I still like that movie. I said, well, you put a lot into it. I understand that, you know. So he didn't. bear a grudge. Now, I think the last time we worked together, unless I'm totally in a daze now, I think it's when they were releasing the Aladdin DVD. It was an Aladdin reunion. Yes, and it was me, some of the other voiceover people, and the animators. Yeah, yeah, and John Musker and Ron Clements, and the directors and Eric Goldberg, one of the animators, a lot of those folks.

Yes, that was a nice occasion. And because you're a, you wrote a book about Disney films. Yes, and another on the history of animated cartoons. Now, most importantly, can you review the parrot in Aladdin? Was it his best work, Leonard? Gilbert, that's a hell of a parrot. Look great on the big screen. It was a very colorful pirate.

It sure was. Well, that's the film I liked very much, and I'm not alone. Yeah. And speaking of cartoons, Leonard, you said you grew up here, and you watched what we watched. You watched Channel 11 watching cartoons, Laurel and Hardy, the Stooges. I had the unforgettable once-in-a-lifetime experience when I was 13, it was either 12 or 13 years old. of going with a friend who was very friendly with him at the time to Chuck McCann's one of his live shows one day, his daily show on WNIW at the time, and standing there and watched him do Little Orphananny and Dick Tracy.

Oh, cool. I never laughed so hard in my life. I never laughed so hard in my life. We love Chuck. And the idea that years later I would become friendly with Chuck, who I see all the time, is just mind-blowing. Sweet guy. And you are a big fan of the Warner Brothers cartoons.

Oh, yes, absolutely. And again, I mean, I've been, I've just been so, you know, timing is everything. I've been so lucky to meet so many of my heroes. I mean, people who really help, well, in the case of those cartoons, I've shaped my sense of humor, shaped my outlook on life, my sensibilities, not just entertain me. In addition to entertaining me, you know, to be able to spend time with all those people I met Mel Blank. You know, and Chuck Jones and Fris Freeling and Bob Clampett and so many of the people who made those great cartoons, I've been so, so lucky.

And you said as a kid, because I remember the same reaction of watching the cartoons and saying, oh, Bugs Bunny acts different and looks different and Daffy Duck looks different in this. Well, that was just it is that there was no place to read about that stuff. I was a precocious reader as a kid and I lived I grew up in TNock, New Jersey and I lived within walking distance of the public library and I spent an awful lot of time there

and there were there I mean there was one book on Walt Disney one a good one by Bob Thomas called The Art of Animation but there was nothing written about anybody else and there was no place to read anything about who made these cartoons, when did they make them, why, you know, did they change in certain

ways, all of that. And it was only in the 70s that some fanzines, as we used to call them, amateur magazines started coming along and interviewing some of these guys and starting to set the record straight. And that's when I was inspired to try to write something myself. and then I also started teaching a course on the history of animation at the new school in New York. I remember being freaked out as a kid. The early Bugs Bunny with the extra, extra big buck teeth, who talked like that? Right.

And Elmer Fudd was this roly-poly guy. Oh, yes, yes. With a clown nose. Yes. all of these things evolved. All the characters evolved. Nobody was hatched, fully formed all at once. I think Bugs Bunny, they basically designed after Groucho Marx, the classic.

In part. But that was Chuck Jones' attitude toward Bugs Bunny. But some of the other writers and directors had a different outlook on Bugs Bunny. But that's what's so fascinating about those characters is they're, you know, I used to do this in my class. I would show five or six cartoons, five or six Bugs Bunny cartoons, each by a different director. And he was clearly identifiably Bugs Bunny in each one of those cartoons, and yet he was slightly different in each of those cartoons. That's an amazing thing. Yeah.

I guess you fall in love with the one from your childhood, you know, the one you know best, and mine was the Chuck Jones version. Yeah. Now, how come they've since then. made a million remakes of the Warner Brothers cartoons, whether in feature films or on new series, and they always screw it up. I guess, you know, well, first off, they've got, they've got an awfully, they've got a tough act to follow, right?

I mean, we're talking about trying to come up to a level of greatness. Yeah. that those guys maintained for decades, and that we've all got embedded in our brains. Oh, yeah. You know, so, I mean, this is very hard to compete with. And frankly, if we're going to talk candidly, even Chuck Jones in his later years couldn't do it.

And I adore Chuck, and I respect him no end. But even he had a hard time recreating the same spirit and pace and Zip and Pizz and Pizz Friling too. And frankly, they were older men by that time. And I think part of what made those cartoons so great is that

in their heyday, the guys who were making them were young. They were young and full of beans and very irreverent. And they were kind of they were bucking the system. You know, they were, the studio was kind of the establishment.

and they were the anti-establishment. Well, it's the old problem with comedy. I mean, you know, you can only be avant-garde for so long. Listen, I remember seeing the three studios make a personal appearance at the Oratani Theater in Hackensack, New Jersey, when they were promoting the three stooges in orbit. So I just stopped there or should I go on? Oh, yeah.

Oh, wow. What year is this, Leonard? That was a Joe Dorita era. Yeah, exactly. You thought about the early 60s. You said it without saying it. And I took a lot of heat from some of my friends and classmates for, you're going to do what?

You're going to see what? But I was kind of impervious to those taunts. I was going. So we're sitting there in a pack theater and an offstage voice who, within seconds, is recognizable as Mo, is announcing them. He says, no, boys and girls, please welcome the, those three silly billies, the three stooges. And out they come wearing very garish outfits.

And we all go nuts because it's the three stooges. Yeah. But they're older. They're older men. And, of course, it's not curly. We want it to be curly. Yeah. Now, little do I mean, Curly is dead.

Now, we don't, you know, this is not something that computes very easily to a kid. Yeah. That curly is gone. Even Shemp is gone for. crying out loud. And poor Joe Derrita. Talk about tough acts to follow. Exactly. And so there's Joe, Curly Joe, as they call them, doing the best he can. And, you know, they're not going to come out and do one of their routines from 1936.

You know? They did a little stick and, you know, and then some silly stuff back and forth and a little bit of a patter. And it was, it was just neat to see them. But at the same time, it was a little disappointing because we held them on such, put them on such a pedestal. And they couldn't be those guys anymore. And also with the stooges, like so many comedians, you know, when they start slapping each other and punching each other, you're going, oh, my God, it's old men hitting each other. They're talking about that. Oh, they shouldn't do that.

That's so sad. Yes. They can get hurt. Yeah, pretty much it's a young man's game when you're talking about that kind of comedy. I mean, there were some who managed to survive it, but it's tough. I'll tell you, on the other hand, on the other hand, the first time I met Jerry Lewis. When I was a kid, I thought the son rose and set on Jerry Lewis. Oh, yes.

One of the first movies I remember seeing as a kid, I clearly remember seeing in a movie theater, was his first solo movie without Dean Martin, the delicate delinquent. Oh, yes. Which has a great, great opening, great opening scene where it's a serious opening scene. It's an alleyway, and there's going to be a rumble between two gangs of juvenile delinquents. and the music is building and you're cutting back and forth in these two gangs who are looking very menacing

and getting closer and closer to each other and all of a sudden, all of a sudden, in the middle of this alleyway, out from a doorway, comes Jerry Lewis knocking over a stack of garbage cans. The loudest garbage cans

in movie history. Completely disrupting their rumble, of course. That's the Jerry I fell in love with. And God, that I just, I just idolized him. And many, many years later, we used to shoot interviews in a conference room

at Entertainment Tonight, and I saw on our call board that Jerry was going to be there doing a quick interview about something or other, And it was not my shoot and it was not my interview. But I sort of snuck into the room while they were setting up. I just went over and shook his hand and introduced myself. And he was very gracious and very nice.

And we made small talk for a minute or so and then I excused myself. And that night, I'm not exaggerate. I started shaking that night. I had a physical reaction because, my God, I just met Jerry Lewis. It was, you know, it was overpowering almost. Well, a couple of years went by, and I had a chance to interview him backstage at Bally's in Las Vegas after he had just done a performance with Sammy Davis, Jr. They were doing a – they were working together at the time as a double act. I mean, they each did their own act, and they did a little bit of stuff together.

So I'm backstage with Jerry and a local camera crew in Vegas that we used that he knew. we did the interview and he was very serious during he was very nice to me but during the interview he was very serious i think he felt he knew i was a film critic and i think he wanted to be sort of the serious filmmaker jerry louis during this interview he didn't want to fool around but at the end of it the camera guy who was a well-known guy around vegas did a lot of a different work had asked Jerry if he would do a greeting for a testimonial dinner that was coming up for Alan and Rossi. I know you recently interviewed Marty Allen. This was going to be a testimonial for Alan and Rossi and would Jerry do a little greeting? And he said, sure.

So they set the camera, and my wife is with me and there are a few other people in the dressing room. and Jerry addresses the camera and says, I've been asked to say a few words on this anniversary for a couple of friends of mine who've been to show business a long time, Alan and Rossi. And I've been asked to sum up what I think about Alan and Rossi and he just stares at the camera and stairs and stairs and stairs. It gets funnier and funnier and funnier.

and funnier and funnier. He's doing nothing. And then finally he starts falling asleep and snoring. And we're all covering our mouths, muffling our laughs so we don't ruin the take.

So funny. So funny. He could still do that. And I saw him not one year. He can still do that. He can still do it. I introduced him one time at the, this is years ago, there used to be an annual video dealers convention in Las Vegas. That's one that were video stores. You remember those grandma? Video stores. God. Yes. Radio. But they used to have an annual convention. All these

mom and pop video store owners, I mean, thousands of them would show up. And one year they gave Jerry their, you know, whatever, star of the year award. So, and of course, Jerry did not attend dinner beforehand because once you put on the tuxedo you do not sit down. This is old school show business. So he was there perfectly dressed, perfectly clothed, standing in the wings with me. And I introduced them. They had a clip reel, which got a big, you know, big reaction. And then he goes out and he says, I want to thank you all for this wonderful honor. It's great to be here. I appreciate what you guys are doing, keeping my films alive on home video and selling them,

and congratulations to the distributor. They're doing a great job. He says, and you know, he says, when I say it's an honor, I mean it because I've had a lot of great honors in my life. I've performed before heads of state. I performed before royalty in Europe and in Asia. I've met five United States presidents, and he goes on like this, and he's going on. And he's going on, and it's like it's starting to get a little boring

and a little kind of, like he's kind of self-absorbed and just going on, prattling about all of these people that he's entertained in his life. And just at the moment that you're saying, get on with it, Jerry. He says, and yet, no matter where I go, anywhere in the world, all people really seem to want me to do is to say, Wai-Day!

But he says this, he leans into the microphone and says this like 10,000 decibels. Need I say, the whole place just fell apart. He absolutely pulverized that audience. That's what he can do. What did you think, though, when he came back with hardly working and smorgasbord? Oh, Schmorgasbord? Oh, well, what can you say? What can you say?

It's hard. You know, I love him. I'll always love him. I wish he hadn't made some of those movies. What can I say? Yeah. But I've also had that same exact feeling of, I'll do jokes about Jerry. Lewis about him, you know, being too overly serious and self-important and stuff.

But I, when I met him a few times and every time I meet him, I'm a kid and I'm meeting Jerry Lewis. That's right. That's right. That's fun. Because he appeals to that in all of us, I think. He appears, you know, nothing. He always says he's a nine-year-old kid.

That's his, you know, his persona. but I think he turns us into nine-year-old kids. Oh, yeah. And Gilbert does one of the best Sherry Lewis's in the business. Yeah. I even know I'm of the team with deposition with all Mr. Floydman. There's a couple episodes of the podcast, Leonard,

where you can get about 10, 15 minutes of that in a stretch. Unlock unlimited free grocery delivery with PC Express Pass. Shop online and get the same. Same low, No Frills prices delivered. Get your first year of PC Express Pass for just $2.50 a month. Learn more at nofrills.ca. The new Subaru Cross Trek Hybrid is the most fuel-efficient cross-trek yet. That means less time filling your tank and more time filling your day.

More court time. More ride time. More lake time. More camp time. More go time. The new 2027 Subaru Cross-Trek hybrid. Consumer Reports top-rated subcompact SUV. Stop by your local Subaru dealership or visit Subaru.ca to learn more.

Consumer Reports does not endorse products or services. Hold music. Not what you want to hear when a pipe dispersed and your basement is flooding. That's why Intact Insurance answers 2 million claim calls per year within 20 seconds. So instead of hearing this lovely track, you'll hear this in seconds. Hello, intact insurance. Now not to bring the room down, but since we're talking about Martin and Lewis and you wrote a book about comedy teams.

Yes. You can see where I'm headed with this. What would you consider the worst comedy team? Oh, that's not fair. Oh, not fair? We were trying to lead you down to Sammy Petrillo. Oh, no, they're not the worst at all. Really?

Oh, no. One of my all-time favorite movies is Baila Lagosi meets his Brooklyn, Durala. I love that movie. It's a freakish film. It's so strange. It's almost beyond description that movie. Because when you watch it, you go, he looks and sounds exactly like Jerry Lewis,

but something is wrong. And you knew that when you were six. Duke Mitchell and Sammy Petrillo. Oh, yeah, yeah. Now, how come that, like, for years, there were comedy teams, and now there are no comedy teams? Well, I think because that era we're talking about was sort of a hangover from vaudeville.

From vaudeville and the last gasp of vaudeville was that moved into nightclubs, of course, the nightclub era in the 40s and 50s, and what they used to call the presentation houses, the movie theaters that still had five, six live acts, especially in big cities like New York. and then that Larry Gelbart, the late great comedy writer, had one of my favorite quotes of all time. He said, when vaudeville died, television is the box they buried it in. Wow. And it's true. And so I grew up, as you guys did, watching the Ed Sullivan show and, you know, the Dean Martin show and the D.N.

Martin show and the Dina Shore show and the Hollywood Palace and all of these shows, that, you know, we're trotting out the last surviving vaudevillians and the people who came out of that era. There were so many comedy duos. I mean, in Allen and Rossi, there was Rowan and Martin. Oh, yeah, and Noonan and Marshall. Noon and Marshall, we just talked about, yeah. A little later generation, Patchett and Tarsus.

Remember them? Burns and Schreiber. Oh, yeah, I love Burns and Shreiber. And what I remember about, like, shows like, It's Sullivan. it was like, you know, maybe as a kid you wanted to see the comedian or the rock group and you were forced to experience other forms of showbiz. Well, exactly, you know, and that's what's missing today, you know, in this world of specialization and narrow casting and all that.

Now, mind you, at the time, I don't think we appreciated that we had to sit through Roberta Peters doing an aria from Puccini, you know, in order to get to Senor Wednesday. Or Myron Cohen. Exactly. You know, but we did. So at least you could say, well, I know what opera is. Yes. I may not like it, but I've heard it.

And the same with all of, you know, all the other kinds, not to mention the animal acts and the acrobats and the jugglers and whoever else. Or they would have. Oh, and let us not forget Wayne and Schuster. Oh, Wayne and Schuster. Oh, my God. That's right. Well, I think made more appearances than anybody on the Ed Sullivan.

And I remember. remember they would sometimes have actors doing dramatic monologues. Yes, yes. The works, you name it. That really was vaudeville. But it's like you were better off having seen all those other people. Yes. Now, as I say, we didn't always feel that way at the time.

Because we were impatient, you know, to get to the stuff we wanted to see. To get to the marquee chimps. Yeah, exactly. You go back and you look at that beetle, the Beatle episode. And I mean, you've got Frank Gorshens on there. Oh, yeah. And Missy Gainer. Yes. They're dancing boys. Oh, Mitzi McCall and Charlie Brill, I think, are on that episode.

And Jack Wilde was it, Davy Jones and a live production of Oliver. Oh, yeah. I mean, so much variety. And I have to get to, this is something, I don't know if it's all urban legend or what's true. you always hear that the little rascals always wound up each one a horrible end no no that's that's that's that's easy exploitation hype and it comes up at least once a year on one of the tabloid type shows the curse of the little rascals or something like that and for every one of these unhappy stories like carl swights or alfalfa who died by gunshot and who had a kind of a miserable life right from the start.

He had a terrible, he had a bad family background. Nothing good to say about his young life, sorry to say, except that he was wonderful in those movies. And he had a little bit of a career afterwards, but not a lot. Well, he turns up and it's a wonderful life. Right, exactly. And Frank Capra used him and William Wellman used him several times. times. But so he came to a sorry end. But, you know, but the kid who played Buckwick, Billy Thomas, you know, he just got out of show business and had a normal life and lived to a decent age.

And I heard. You know, Spanky McFarland, who I got to know a little bit, he tried to stay in show business. Had his ups and downs. But he married a wonderful woman. They stayed married for many years. they were very happy he had a bit of a revival you know during the nostalgia wave of the 70s and used to tour college campuses and did lectures and did the nostalgia conventions

and so you know he derived some latter-day satisfaction from being spanky and made a few bucks at it too and you know Dickie Moore is still alive he's not well right now but he's okay

he's still alive. You know, there are a number of others who, you know, who turned out okay. The Gilbert Gottfried's amazing colossal podcast, producer of the month for August is Kate Jones. Thank you, Kate. Be just like Kate and get rewarded for supporting our podcast. head over to Patreon.com slash

Gilbert Gottfried for a small amount each month you can get some colossal benefits such as access to new podcast

episodes before anyone else exclusive video hangouts shoutouts from me on Twitter I will even read something that you send me and it'll sound just like this. Go to patreon.com

slash Gilbert Gottfried. That's Patreon. P-A-T-R-E-O-N dot com slash Gilbert Gottfried. We thank you for your generosity. Now our mutual friend Drew Friedman, Leonard, one has said, you've got to ask Leonard, and this was news to me, there were apparently fake little rascals? Oh, yes. Gilbert and I were endlessly amused by the thought of a fake buckwheat. I have a bulging clipping file of people who could, would usually start with convincing a local reporter. You know, this is when newspapers were a little more active and vital than they are today, and before the Internet. But they'd convince somebody, be it a local reporter, be it somebody in a nursing home,

be it, you know, a family member who then reported upon their death, that they were the original stinky in the little rascal. Or this was, my uncle was the original freckles in the R-gang comedy. and I can't tell you how many phone calls I feel that over the years from the New York Post and from the Associated Press and all sorts of people asking if this was true. And, of course, if you would say no, I mean, the reporter was happy to accept the no,

but sometimes the people or the families weren't. And the weirdest thing I ever had happened was I helped host a nostalgia convention in the, let's see, about 1980 in New York at the old Commodore Hotel, now long gone, on 42nd Street near Grant Central. I remember the Commodore. They had early Comic-Conns there. That's right, exactly.

Well, they had a lot of conventions. Clayton Moore was at that convention, and Spanky was at that convention. So I was interviewing Spanky on stage, and as I'm interviewing him, and they have a pretty good turnout, and in the middle of the conversation, a guy, walks up the aisle and calls out, Hey, Spanky. Now, I can't remember what he said at the time, but he said, hey, Spanky, it's Freckles.

Remember me? And Spanky, who'd been through this before, I said, hey, how you doing? And that seemed to satisfy the guy, and he didn't interrupt any further. You know, it was some guy. The worst, though, was that one night on ABC 2020, they actually did a profile of a guy

in Phoenix, Arizona, who was bagging groceries at a local supermarket, who said he was buckwheat. And how this got on a national news television show. Incredible. I'll never know. And in fact, somebody got fired over this. And rightly so, because there's some reason to believe that before it went on the air, someone found out that it wasn't true, and they ran with the story anyway. and he was not.

And the thing about the rascals is that by this time, by the time Dick Bannon and I wrote our book on The Little Rascals, it was, we identified the actual names of every single member of that troop over the years, from the silent movie era right to the end in the 1940s. So there's no question who Darla Hood was. It was a young woman named Darla Hood. So the fact that 17 different people said, I was the original Darla, sorry, you're wrong. There's only one, and her name was Darla Hood.

Or that I was the original Buckwheat. No, Buckley's name was William Thomas, Billy Thomas. He's the only guy who was ever Buckwheat. So it was not hard to prove these things, and yet people were all too willing to accept. Because, again, what you just said, Frank, early on, and Gilbert, Who would do that? Who would pretend to be a little rath? That's perversely funny.

I mean, I remember a story about somebody impersonating Dennis DeYoung, who was the singer in the band Sticks. I can see trying to be pretending to be a rock star, but pretending to be buckwheat is bizarre. See, or our descendant of Alexander Hamilton or Thomas Jefferson. I've done that. Now, you wrote about the island of lost souls. I remember. And it's like, because I just recommended that film. We do a mini episode on Thursdays now, Leonard, where we just dust off films that we like.

Oh, well, the newest DVD release from Criterion is so fantastic. The quality of the, it's never looked this good. They pieced together this print from like four different sources. And it's more complete than it's ever been. and it looks breathtakingly beautiful, and it's such a creepy movie. What a creepy film. It's so funny,

and every attempt to remake it, most famously, the Brando one, has failed so miserably, and that is like, it is a nightmarish film. Oh, yes. It's a spooky film.

I mean, once you see it, you'll never forget it. And it was photographed by one of the greatest camera in the history of Hollywood, a man named Carl Struce, who was a master of lighting. And there's a scene with Charles Lawton where it's almost completely dark. And all you see is Lawton lighting a cigarette. And the tip of the cigarette just barely illuminates his face ever so slightly. Oh, it's just, it's incredible.

and all the views of the monsters are very quick. Yes. And it's like, it's not like later on. It was like, hey, look at the great makeup we have. Well, the Bert Lancaster one's not very good. No, that one, I remember the edge. Michael York in that, I think. The ads for the Bert Lancaster one were just a poster showing all of the monsters.

Right. And the brand. You know, Mary and C. Cooper, the genius behind King Kong. uh... said he he always subscribed to the theory he called the three ds when it came to uh... uh... a monster or something like king kong i think i'm getting this right keep it dark distant and dangerous in other words

don't reveal don't show it in close up don't dwell on it keep it as mysterious and as obscure as you can and that maintains that that ora that mystique Well, like what was famous and what was ultimately successful about jaws. I was just going to say the same thing, the first jaws.

The shark didn't work and it looked goofy on screen. So Spielberg was forced to make the ocean the villain. And it was like there was something underneath the ocean. Keep him off screen. Yeah, and that's what scared you. It's the anticipation that builds the suspense. and that makes it so compelling and so exciting. Speaking of the rascals, Leonard, we have to ask you about a favorite of Gilberts and mine.

And forgive me if I don't have my facts right. The kid from Borneo was taken out of circulation? Yum, yum, eat them up. Was that one that was edited heavily or taken out of circulation only to come back? The company that owned the distribution, the TV rights to the package of the Little Rascals, you know, and it was in circulation for years. We all grew up watching them every day on television. And then in the, I think it was in the 70s, you know, that either stimulated by some complaints

or maybe by just wanting to dodge some possible complaints from viewers or, maybe by just wanting to dodge some possible complaints from viewers or from TV stations who might not want to renew their rights to the package. They decided to edit the films. They pulled, I think, about a half dozen titles out of the package completely, including the kid from Borneo, and also the one with Step and Fetchett in it.

Oh, yeah. You know, and so they took some of them out completely because they felt they were just too... And then others, they edited. They cut scenes, they cut lines of dialogue, and they didn't do it gracefully. They used a meat cleaver. It was not done with any kind of subtlety. And this was, I mean, this was a well-meaning attempt to keep the films alive without showing something that could be offensive.

And let's face it, some of that stuff is, I mean, if anything is politically incorrect, it's some of that material. Oh, it's of its time. It's, you know, but it's, but the difference here is that it's being shown to kids. Right. So I understand it. I understand the, the, the motivation behind it, and I understand why they wanted to do that. And, but then later on in later years, when people wanted to do stuff with the films and try to put them in the right context and show them in a proper way. and, you know, present them responsibly and explain what was going on and, you know, and warned parents and all of that.

They still didn't want to let them go. They still didn't want them to be shown. So it's remained a hot potato ever since. I see. I tell you, the kid from Borneo, when you're a kid, is one of the strangest things you've ever seen in your life. Very weird. And doesn't he end up getting shot in the ass with a Roman candle? Oh, yeah.

I remember the ending of it. What? Subtled they were. Yeah. Say that again, I said subtle they weren't. Subtle, they weren't. But, you know, the thing is, I want, this may seem out of context, but I hope it isn't.

Years ago, when I was talking to Chuck Jones, the great animator and cartoon director, he used to take some heat at one time over the violence in the Roadrunner cartoons. and CBS used to run the Warner Brothers cartoons on Saturday mornings for like 20 years, you know, they were hugely popular, but they started editing them. They would cut out all gunshots, they would cut out all explosions, anything that was seen to be violent. And Chuck Jones used to say, when people would say, you know, what do you think about the accusations of violence in your cartoons? And he turned to someone like me. He said, well, you grew up watching them.

Did you turn out to be an ex-murgerer? You know? Right. And, of course, you know, the answer was no. I mean, when I was a kid, the apocryphal story when I was growing up was always, I grew up watching the adventures of Superman with George Reeves. Oh, and that every kid, yeah. Every kid was told the same thing.

You know, some kid put a blanket over his show. shoulders and jumped off a roof because he thought he could fly like Superman. My mom told me that. You know, well, you know, you cannot protect everybody from everything, and you cannot protect people who are, uh, who don't get it or who are perhaps, uh, you know, mentally impaired, uh, you know, from, from taking the wrong message from something that has, uh, no, no intention of sending a wrong message. Well, it's just like when they, um, they, um, you know, um, from taking the wrong message.

accuse models and actresses like, well, this is the reason there's anorexia and girls are starving themselves because of you and you figure, no, that's a disorder. Yeah. Yeah, exactly. Now, before we... Well, we're still going down a fun path of conversation here. Well, now we get to what I have... We need a henny youngman segue here.

Or an Arty Johnson falling off a tricycle sound of fright. Now, okay, well, that leads me into my next thing. Because there has to be a Milton Burl reference in each of my podcast. Oh, certainly. Did you ever see Milton Burl's dick? No. There's a more interesting path, Leonard. No, but I did have the pleasure and honor of being on a dais

for a Friars dinner out here in Los Angeles honoring Hal Roach. Oh, great. And Milton was the Toastmaster. Yes. And I was very flattered to be one of the guest speakers. And it was quite a night. I mean, you know, this is something you do all the time, Gilbert,

but it was a real novelty. In fact, a unique situation for me. I got called by a guy one day at entertainment tonight asking if I'd be willing to participate. I said, absolutely. I said, who else have you got on the panel? And he said, I think we have Ricky Lane and Velvill. Oh, they just came up on the show. And he named some other people.

I said, well, do you have anybody who has anything to do with Hal Roach? He said, like who? I said, like Jackie Cooper maybe. he said, oh, that's a great idea. So he booked Jackie Cooper, who of course had been in our gang. Of course. And who was happy to come and be part of the evening.

And they got a few other people like that, too. So it was a wild, wild night. And Milton was using file cards at the time as his kind of close-up cue cards. And he was great. he was just great and one of the highest compliments I ever had I think

was I had a few notes on cards and I made I was not there to be a comedian I certainly wasn't going to compete with professional comics uh although I did say that the day has looked a little like the green room for the Joe Franklin

show which you were what's on but uh at one point I said something or other and Milton reached up and took my file card. Like he was going to save it and use it at another time. That is flattering.

He was just great. He was great. Years ago, Steve Allen wrote a great book back in the 50s called The Funny Men, which is still a wonderful book about comedy and comedians. And he said nobody could ever beat Milton in a cutting contest. Because while comedian A would be trying to think of something funny to say, Milton would be remembering something funny he already said 20 years ago. And it was true.

One night, my dad was visiting from New Jersey, and my dad's brother, my late, late uncle, who died when I was just an infant, had been a pianist and songwriter who had some modest success, It's never a big, big success, but he had some songs that got performed by some fairly famous people, and he wrote a song with Milton Burrell in the 1930s. So one night while my dad was visiting, I was going to do pledge breaks for the local PBS station here in Los Angeles. And I knew that Milton was also going to be on that night.

So I brought my dad along because I thought he enjoyed meeting Milton. And Milton, who had a steel trap mind remembered everything. and everybody, gave me a big hello and was very friendly to my dad. And my father said, you won't remember this, but many, many years ago, he wrote a song with my brother, with my brother. He said, what was your brother's name? He said, Bernard Martin. And in a nanosecond, Milton said, Bernie?

This is like a 40-year flashback in a nanosecond. Yeah, he supposedly had a steel trap mind. Unbelievable. I met him one time, and I had just done a story on E.T. About the movie Sun Valley Serenade, which had just come out on video, an old musical with Sonia Henny and John Payne and Glenn Miller in his orchestra, and Milton, among others. And I said, hey, Milton, I just did a story about Sun Valley Serenade. He said, you know, I'm the only one still alive. I'm the only one left from that movie.

He said, they're all gone. Glenn Miller, Sonia Henney, John Payne. I said, well, the Nicholas brothers said, featured act. Featured act. I'm talking about leading players. I love that. Unlock unlimited free grocery delivery with PC Express Pass. Shop online and get the same low, no frills prices delivered.

Get your first year of PC Express Pass for just $2.50 a month. Learn more at 9. Nofrills.ca. The new Subaru Cross Trek Hybrid is the most fuel-efficient cross-trek yet. That means less time filling your tank and more time filling your day. More court time. More ride time. More lake time.

More camp time. More go time. The new 2027 Subaru Cross-Trek hybrid. Consumer Reports top-rated subcompact SUV. Stop by your local Subaru dealership or visit Subaru.ca to learn more. Consumer reports that's not indoors products or services. Hold music. Not what you want to hear when a pipe just burst in your basement is flooding.

That's why intact insurance answers 2 million claim calls per year within 20 seconds. So instead of hearing this lovely track, you'll hear this in seconds. Hello, intact insurance. Now, you also became friends with or were a fan of someone who we love here. Oh, you're still there? Yeah. Oh, yeah. You also, I'm a big fan.

I only, unfortunately, got to visit him twice, and that's Forie Ackerman. Oh, well, I grew up on Forie Ackerman, like everybody, my generation. Famous Monsters of Filmland. Oh, yeah. I went down to my local candy store on the corner where I bought my comic books and eagerly awaited each new issue of famous monsters of Filmland. Oh, I doted on that. Absolutely. Couldn't, couldn't wait, couldn't get enough of it.

And when I moved out here, I did get to meet him on a couple of occasions. I went to visit the Akramansion. Oh, yes, I was there. I saw a lot of his wonderful memorabilia. And I can't say I was a friend of his or friendly with him, but he was very nice to me, and I got to meet him at least, and that was really fun. Letter, tell us about, I was listening to an interview with you online, And you met a lot of people when you first went to L.A. and we're doing interviews, you met a lot of people that had worked in silence.

I mean, you interviewed Grady Sutton and Joan Blondell and Ralph Bellamy and Rubin Mamulian. Well, Mamulian I saw in New York City. Oh, is that New York? The movie was the first director I ever saw in person. In the late 60s, a notorious character named Raymond Roehauer ran the film program as a, the Huntington-Hartford Museum. I know. Yeah, I know that place.

And Roehauer has a tarnished and justifiably tarnished reputation because although he did some good things, he restored the films of Boster Keaton and put them back in circulation. And he did, that's probably his greatest claim to fame. But he also bullied a lot of people and claimed to have rights. that he didn't really have. But he put on some wonderful shows at that museum, and he brought in Groucho Marx, and that's how I got to meet Groucho.

He brought in Ginger Rogers. He brought in all sorts of wonderful people. Hal Roach did a long, long tribute to Hal Roach one summer. Some great shows that I'll never forget. But the first person he brought in that was a director was Ruben Mamulian. And at the time, I was a kid, and, you know, all I thought about were the performers. you know, the actors, the comedians, that's who I was interested in.

I'd never heard a director speak before about his work and talk about what went into it and the decisions and the creative choices and all of that. And Mamugan was an extremely eloquent, gracious, fellow, fascinating to listen to. And I just kept going back day after day to hear him because he was so fascinating. So it was a sort of a life-changing experience for me.

I owe a lot to that experience. He directed the Jekyll and Hyde picture, right, with Frederick Marsh. With Frederick March. And that was the movie where everybody wondered about the transformation scene, how he achieved that. Yeah. And I'm not the one that can tell you because I don't remember. Now tell us a little about Groucho. Oh, I just had a brief, well, I'll tell you what.

There was a tribute to him at that museum, and I was lucky enough to be invited to opening night. And they had a, on the top floor, they had a cocktail lounge, a reception area. And that's where Groucho was going to be after the program itself. So I was there with my best friend, and I brought my copy of the Groucho letters, which had just been published, a hardcover book collection of... I had that, yeah. And what I wanted was that I wanted to get his autograph. And I noticed off to the side, Cindy Adams was there with the TV crew from Channel 7. So the elevator was right in the middle of the room.

I said to my friend, look, here's the elevator, there's the TV crew. He's got to walk this path. If we just stay on this path, we can't miss them. So that's where we planted ourselves. And he was there with his brother Zepo. Wow. Well, they walked right by us, and we didn't recognize them because they were these two little old men.

We got them on the way back. Wow. And he did sign my book. But that was another instance of a clash of reality versus, you know what you what you have in your your head although that night when rohar was introducing him and rohar was not a great public speaker he was kind of thumpering and saying and and then we're here to pay tribute to a very special law committee grouch pushed his way on stage shoved raymond away from the microphone so that's

enough of that now got a big laugh got a big laugh and and asserted himself as Groucho. Now, Frank and I were talking before, you have a story about Eddie Murphy and Ralph Bellamy? Oh, this is a third hand. It's not an original story. I'll tell it, but when Eddie Murphy made trading places, they were on location, I think, in Philadelphia, if I'm remembering correctly. That sounds right. And the two co-stars were, of course, the two great movie veterans, Ralph Bellamy, and Don Amici. Amici hadn't been working at that time for quite a while. He later had a, his career got a second win in the later years of his life.

Well, Bellamy was a very talkative, garrulous guy, very sweet man. And he's chattering with the makeup trailer with Don Amici, says, He says, how many pictures you figure you've made? And he says, well, he says, I think I've made about 49 or 50. And Bellamy says, I've been counting. He says, I believe I've made 99 films altogether. And Eddie Murphy, overhears it, he, says, between us, we've made 150 movies. I like that.

You know what's interesting about those two names? Leonard is both of them, Amici and Bellamy, became kind of expressions. Because my mom said people used to refer to the Amici as the telephone. Hand me the Amici. Hand me the Amici because he played Alexander Grimmie. And of course, the Bellamy is the guy that doesn't get the girl. Yes. Now, Gilbert loves Casablanca.

That's my all-time favorite movie. We've talked about, I know it is, and we've talked about it on the show, and he does little bits from the movie. I mean, it's one of those pictures where as I'm sitting here talking to you, I'm looking at a little sampler pillow that I

purchased at the Warner Brothers store, which I'm still in mourning over that they closed 15 years ago. I was their best customer. I remember that store. They made this sampler pillow and it has my all-time favorite line of dialogue.

I was misinformed. Oh, because Bogart came there for the waters. Right. And I heard in Casablanca a lot of like in the tiniest parts, like extra parts of one line or or the Nazis hanging out in the casino. It was these European Jewish actors who were old stars in their country before they had to leave. Well, they weren't all stars, but they were all emigres, and you couldn't have invented those faces. These were all refugees and emigres who had fled from the Nazis and wound up in Los Angeles. So if you wanted to cast a room full of people who looked like refugees, you didn't have to put makeup on them.

There they were. and it's one of the things I love about the film is that everyone who speaks even one line of there's no one in that film who isn't colorful and interesting from the tiniest part to the leading roles it's so perfectly cast all the way up and down the line wasn't that one of those films that while they were making it they thought uh oh we're in trouble because they kept changing the screen it was you know it's been it's been pretty well documented now that that they they they kept uh rewriting and tampering and tinkering and had they been able to they would have changed the ending uh because by the time it was coming out they were making it uh remember we only entered the war after uh pro harbour at the very end of 1941 and they were making this movie in nineteen forty two so hollywood wasn't yet fully geared up for wartime propaganda. They were trying to get on that bandwagon

as quickly as they could. And they seriously thought about having a closing shot of Bogart and Claude Reigns in uniform on a troop transport ship to show that ultimately they went to fight for the cause. But by that time, Claude Raines had gone home to his farm in Pennsylvania, and it was very hard to get

transportation in those days. Everything was on a priority basis. And train travel was very difficult. Plain travel was even worse. And just the logistics didn't work. Or they decided it wasn't worth the time and effort

and money to do it. And they ultimately left it alone. Thank goodness. And there was also the great... And they also wanted to call Ingrid Bergman back for some possible retakes, but she was making for whom the bell told us and she cut off her hair. If you remember for whom the bell told, she has a very severe boyish haircut. And I remember that there's that great scene where the Germans are singing one of their songs.

Right. very proudly, and then Bogart nods his head to the French, and they start drowning them out with the French national. With Marseillaise, yeah. And I heard that the crying in that scene was real, because the war was starting, and no one really knew how it was going to end. That's why I say the emotions on the face,

of all of those people, all those European emigres. You know, a lot of that was not acting. I mean, some of it was acting from a very real place, you know, in their hearts. And some of it wasn't acting at all. They were just responding to the situation. That's why the film is unique. That's why it really is one of a kind. Even Warner Brothers couldn't make it happen again.

You know, they tried re-teaming. They did passage to Marseilles. Oh, yes. And all these other films trying to recapture the spirit of Casablanca. In the old days, as opposed to today, they didn't do sequels very often. What they did was clones, which is, you know, a slightly different approach. Instead of making Casablanca, too, they made passage to Marseille, which also took place in Europe. It was also during the war.

It also had Peter Laurie. They would take as many of the same ingredients as they could and try to fashion something new that we resemble the original as closely as possible. But even then it wasn't easy to do. And it almost happened with Ronald Reagan. Yes. No, that's baloney. Oh, really?

That's a myth. That's absolute baloney. That's good stuff. Now, Leonard, this is, I hate wrapping up this show because we have like loads of things. Probably 10 cards we didn't get to. We haven't scratched the surface with you. So you're going to have to come back whether you want to or not. I'll do that if you will let me do my two plugs.

Oh, yeah, do them now. Go right ahead. Tell us. Well, my website is Leonardmalton.com. And that's where I review current movies, but I also write about things that interest me and film festivals I attend and revivals. and it's where when somebody I care about, like the same people you care about, passes away,

I try to do a tribute or a memorial, and we keep a lot of, we have a huge, huge backlog in archives. So that's Leonard Malton.com. The other is my podcast. Yeah, with Barron. Which is called Malton on movies. Right.

With my partner, Baron Vaugh. I know, Baron. Funny guy. We're on the Wolf Pop Network, and we're on iTunes, and give us a try. I've seen the show. It's great. Thank you. So once again, I'm Gilbert Gottfried. This has been Gilbert Gottfried's amazing colossal podcast with my co-host, Frank Santo Padre. And we've been talking to a writer, critic, all-around expert on movies, Leonard Malton.

And I just want to throw in one more thing, Leonard. I am heartbroken, as I'm sure many fans are, that you are no longer going to be publishing the essential. indispensable movie guide, which saddens me deeply. Thank you, Frank. You know, it's a big change in my life. I've been doing it since I was 18 years old. We had a 45-year run with that book, which is just extraordinary. It's been a Bible. I cannot complain.

So many people have said so many nice things to me. And, of course, the book still is there, still stands. but what we are doing, I'm happy to tell you, is a new edition of my classic movie guys. Good. Which will be out in late September, which we've added 300 more old movies to and made a lot of corrections and additions and changes.

And I'm very proud of it, and that'll be out September 29. Good news. Good news. Thank you again, Leonard Moll. Come back and talk movies, just movies with us. Anytime you say. Thank you, buddy. All right, thank you.

Get the news. FOSCAMC-1 indoor Wi-Fi security camera because it's a reliable solution for indoor surveillance of your home or office. To learn more, go to www.foscam.com.com.us-U-S-S-C-1, where you'll be directed to our Amazon page, and for limited time, use the code Gilcast, that's G-I-L-C-A-S-T-1, to get $10 off. You love that, too. Next. Per camera. Again, the website is F-C-A-M-S-C-A-M-U-S-S-L-L-L-L-L-L-L-L-L-L-L-L-L-E. and the number one. Watch what you love anywhere. Unlock unlimited free grocery delivery with PC Express Pass.

Shop online and get the same low No Frills prices delivered. Get your first year of PC Express Pass for just $2.50 a month. Learn more at nofrills.ca.